Forms of the Goddess Lajja Gauri in Indian Art

Overview

Striking images of a certain Indian goddess have been variously referred to as the "shameless woman" the "nude squatting goddess," the "mother goddess," or, because her historical name remains unknown, more than twenty-five names, among them Aditi, Lajjā Gaurī, Renukā, and Nagna Kabambdha. The best-known images of this goddess have a female torso and a lotus flower in place of a head, while her legs are bent up at the knees and drawn up to each side in a position that has been described as one of "giving birth" ...

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1992 Hardcover New in New dust jacket 0271007613. New, unmarked book, no remainder marks; Monographs on the Fine Arts; 11 X 8.60 X 0.80 inches; 91 pages.

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Overview

Striking images of a certain Indian goddess have been variously referred to as the "shameless woman" the "nude squatting goddess," the "mother goddess," or, because her historical name remains unknown, more than twenty-five names, among them Aditi, Lajjā Gaurī, Renukā, and Nagna Kabambdha. The best-known images of this goddess have a female torso and a lotus flower in place of a head, while her legs are bent up at the knees and drawn up to each side in a position that has been described as one of "giving birth" or "self-display." This type of goddess figure is explained as part of a long, highly sophisticated tradition of expressing fertility and well-being in Indian art.

The artists creating images of Lajjā Gaurī drew on various ancient symbols of fortune, fertility, and life-force to communicate her power through their rich heritage of meanings. As these historical-religious symbols and images were constantly reused and reincorporated, they formed a new and enriched religious context. In the process of recycling they became empowered cultural metaphors, visual morphemes in the language of Indian art.

Because there are no texts to explain the figure, the study proceeds from the basis of the objects to derive their meaning. Carol Bolon charts the changes in the goddess's form over a period of more than four centuries, including its possible adoption from tribal worship into Hindu temples, and brings a new appreciation of Lajjā Gaurī's rich symbolic meanings and cultural context.

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Product Details

  • ISBN-13: 9780271007618
  • Publisher: Penn State University Press
  • Publication date: 1/28/1992
  • Series: College Art Association Monograph , #49
  • Format: Library Binding
  • Pages: 178
  • Product dimensions: 8.50 (w) x 11.00 (h) x 0.50 (d)

Meet the Author

Carol Radcliffe Bolon is Assistant Curator of South and Southeast Asian Art at the Arthur M. Sachler Gallery and the Freer Gallery of Art in Washington, D.C. She is the co-editor of The Nature of Frank Loyd Wright (1988).

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Table of Contents

List of Illustrations
Acknowledgments
Introduction 1
I Forms 11
Form I: Uttanapad Pot 13
Form II: Lotus-Headed without Arms 17
Form III: Lotus-Headed with Arms 20
Form IV: Anthropomorphic 33
II Lajja Gauri in Multifigured Plaques 39
III Related Forms 51
IV Names 63
Conclusion 67
Appendix of Known Figures 73
Glossary 77
Selected Bibliography 81
Index 87
Illustrations 91
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